Tag Archives: Cosmic Psychos

There are few rock ‘n’ roll parties as thrilling and irresistible as those provided by Spanish rockers Los Chicos, an experience they offer once again with new album Rockpile of Shit. Offering fourteen tracks which embrace everything from garage to pub rock, punk to funkily soulful shenanigans and plenty more, the release is a feast of boisterously rousing rock ‘n’ roll and a delicious echo of the Madrid quintets’ inimitable live show.

Formed in 2000, Los Chicos have released a quartet of increasing acclaim grabbing albums before Rockpile of Shit, the previous trio of Launching Rockets (2007), We Sound Amazing But We Look Like Shit (2009), and In the Age of Stupidity (2013) released, as the band’s new encounter this time in conjunction with Folc Records, on the always impressing Dirty Water Records. Live the band has ignited stages alongside the likes of Mudhoney, Southern Culture on the Skids, King Khan, The Sonics, Johnny Casino, Soundtrack of our Lives, Redd Kross, Cosmic Psychos, Spencer P Jones, The New Christs, The Young Fresh Fellows, The Meanies, Barrence Whitfield, Hi-Risers, Eddie And The Hot Rods, Roy Loney, and many others and toured across the globe, hitting Australian four times. Now they are ready to set a new stomp in motion across the world with Rockpile of Shit, a one hard to resist slab of fiercely flavoursome rock ‘n’ roll.

Feet and hips are soon as on board with band and album as ears when opener A Kingdom Of Coolness starts things off. Choppy beats and riffs soon tempt as grooves and vocals steer the course of the punk infused encounter. With its seeds seemingly in sixties garage rock and seventies punk, the track carries a great feel of old UK band The Cortinas to it as it emerges an undemanding yet seriously inescapable incitement to body and appetite as virulently infectious as it is commandingly rousing.

The same qualities fuel the following Rockanrolla, its own raw rock qualities making a potent temptation around the inviting tones of vocalist Rafa Suñén. Again the guitars of Gerardo Urchaga and Antonio Urchaga nag and jangle with remorseless enterprise and persuasion, bringing an Eddie And The Hot Rods hue to its boisterous catchiness before the even more virulent charms of I Don’t Wanna Learn Anymore steps forward. The swinging bassline of Guillermo Casanova makes for a powerful lure as the crisp beats of Ral García back up its invitation; they in turn matched in old school revelry by the guitars but with a modern spice which is inimitably Los Chicos.

The funky R&B of Older And Better has feet taking to the floor from its first rhythmic beckon, backed perfectly by the sizzling flames of sax which grace the outstanding encounter. With a hint of King Salami and the Cumberland Three to it, the song is mouth-watering devilry laying an early claim to best track on the album but soon rivalled by its Department S spiced title track. It too infests body and soul, bringing each alive and indeed eager vocal participation with its and the bands creative festivity.

Last Day Here offers a fiercer snarl while feasting on a fifties rockabilly inspiration. Equally though, it has a power pop vibrancy which lights up another impossible to escape chorus, voice and hips puppets to its manipulative magnetism. With discord flirting with the guitars and a Devo-esque quaintness emerging, the track epitomises the album; a seemingly simply flavoured proposition soon showing itself bursting with bold adventure and diversity.

The country/cow punk romp of Responsibility Ville hits the spot with ease next whilst More Beer is a melodic jangle sparking thoughts of countrymen The Pulsebeats as it too grips an already greedy appetite for release and sound. The wonderful relentless beats of García, as throughout the album, enslave ears and spirit alone, guitars and vocals playing with its conquest in an array of styles and devilish ways, Miami Beach soon employing its own surf hued punk ‘n’ roll web ensuring there is no respite for the listener’s body and enjoyment.

Through The Ramones meets The Members like Mommy’s On MDMA and the country punk of Little Man, there is no lessening in bouncing songs and bodies while Night Ride adds its own individual twist on the country rock scent. All three leave a big smile on the face, though each is eclipsed by the scuzzier funk ‘n’ roll of I Know I Don’t Know and finally the hypnotic shuffle of closing track Toga Land. The pair ensures that physical and emotional involvement is at its most eager as the album comes to a mighty conclusion, an event leading only to a hard deny urge to press play and start all over again.

A great many already know of the rock ‘n’ roll majesty spun by Los Chicos, and with Rockpile Of Shit we can be safe in suggesting so will a great many more. This is one party everyone should gate crash.

Midway through recording their new album, Australian rock band Animal Hands have released new single Edge Of The World, a tantalising teaser to presumably the treats to be found on their new full-length scheduled for early 2016. It is a compelling lure of fuzzy guitar, dirtier air, and the siren-esque vice of Danielle Whalebone, resulting something little less than sonic magnetism.

Formed in 2011 by singer/songwriter/guitarist Danielle Whalebone, Animal Hands has increasingly lured loyal support and keen attention, with their self-titled debut EP of 2013 one of the first enticements alongside a successfully hungry live presence. Produced by Lindsay Gravina (Rowland.S Howard, Cosmic Psychos, Magic Dirt), the release garnered a wealth of praise and airplay across the Australian media and subsequently further field, the US and Europe included. September last year saw the release of the single Roaring Girle, also recorded, as with Edge Of The World, with Gravina. This past April, Whalebone with lead guitarist Francesco Manuse, bassist James Price, and drummer Noosh! began work on their first album, for which the band now gives us a highly flavoursome hint.

Edge of the World swiftly encases the senses in a guitar led caress of sound, relaxing its initial thrust as the distinctive tones of Whalebone serenade the ears. The track’s air gets thicker and busier again as the chorus rouses further attraction and appetite though , its catchy wind alive with scuzzy sonic enterprise and the tempering but just as fascinating dark hues of rhythms. Courted by the deeper seriously understated vocals of the band, there still no escaping that lure within the enticingly bracing roar of sound, it is the voice of Whalebone that takes centre stage without defusing the temptation and impact of the sounds around her. It is a mesmeric mix playing like a post punk fusion of Daisy Chainsaw, Belly, and Veruca Salt, and increasingly alluring over time.

To be accompanied by a film clip directed and edited by Whalebone and filmed by Damon Eames retelling the wonderland story with stop animation sourced from the 1950’s, Edge Of The World definitely gets anticipation brewing for the impending Animal Hands album, whilst right now sparking rich enjoyment.

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